Caroline Charles turned back the clock when she unveiled her spring and summer collection.
Her 1950s-style floral prints in silk and other fabrics were worn by models with their hair in tight buns and lips in bright red lipstick to capture the glamor of that era. Some of the evening wear used sequins and beads to dazzling effect.
The final long, swirling dress she presented was the most dramatic, suggesting cocktail parties and late night soirees. A pale leopard skin print dress with black gloves and a narrow black belt also caught the eye.
Many outfits included matching or contrasting gloves, some extending above the elbow, others cut very short. One floral dress had aqua colored gloves, and a retro black jacket was offset by long red gloves.
The collection also included Capri pants and boxy jackets.
Bora Aksu broke out the ruffles, frills, bows and drapery in a “more is more” avalanche of chiffon, mesh, brocade and satin. The palette was muted with rich grays, navy and black, which was highlighted with sparkling metallics and a splash of raspberry red.
A loose sequin necktie and a bow tie were the only masculine part of a collection made up mostly of mini-dresses and skirts.
“The collection had a new age feel about it. The graphic leggings and the patterns reminded me of a spaceship,” said Kimberly Mansfield of
Maria Grachvogel’s spring and summer collection was a minimalist celebration, with long, unadorned dresses and models wearing naturally styled hair and very little makeup.
The pared-down silhouette had a fresh look as Grachvogel experimented with silver crepe catsuits and vivid prints. Some dresses in unusual colors like canary yellow and pale silver gave the collection a faraway feel set off by the jungle drums prominent on the soundtrack.
Many of the evening wear pieces were cut from a single piece of fabric that draped naturally over the body with a minimum of seams and decoration for deceptively simple, sensual look.
Australian design duo Sass & Bide presented a collection in which earthy tones of khaki and cream were infused with copper and clashing metallics. Patterns featured prominently, with some outfits resembling a dripping artist’s canvas. One of the most winning looks was a printed balloon style skirt teamed with a striped top and sky high heels.
There was no lack of dramatic details: Hammered metal body harnesses and beaded shoulder details conjured images of Joan of Arc, while stiff collars made of raffia reminded viewers of Elizabeth the First. The female warrior was clearly a theme here, as in Jena.Theo’s show earlier Friday.
Flirty, barely-there skater skirts, studded bras and shiny cigarette pants channel the ‘80s at the Felder twin sisters’ show, which was inspired by textures and what the designers described as “free spirits.” The color palette was accordingly fun and disco-worthy: Electric blue, pink and red leather came bouncing down the catwalk to the soundtrack of “Born to be Wild.”
Hannah Marshall’s show was the very opposite of the fun atmosphere at Felder Felder. Opening with a short film showing a nude model struggling to get out from under a piece of sheer fabric, her collection was all monochrome — from black, chalky gray to dirty white, all outfits stayed true to a single color. Sheer chiffon, mesh and organza were hardened with tough leather and suede, and a key piece was an oversized tuxedo jacket with a back panel completely filled in with organza.

Dresses go flouncy, slinky at London Fashion Week

By GREGORY KATZ, Associated Press Writer

Associated Press Writer Eleanor Stephens contributed to this report.